Writer: Virginia Woolf
Adapter: Sarah Ruhl
Director: Stella Powell-Jones
What was once a love-letter from Virginia Woolf to Vita Sackville-West became a love-letter to actor Tilda Swinton in Sally Potter’s seminal film of 1992. Woolf’s story of a gender fluid character who lives forever was once thought impossible to film, and impossible to stage. Potter’s movie was a huge success, and the staged version of the novel at the tiny Jermyn Street Theatre deserves to be too.
Sarah Ruhl’s 2010 adaptation is surprisingly faithful to the book, and even though there is only a cast of five, this Orlando feels suitably epic, and the changes in centuries are handled smoothly and inventively, helped by a clever sound design by Roly Botha. Woolf’s story begins with Orlando being introduced to the court of Elizabeth 1; it ends with Orlando driving to department stores in 1928, the year of the novel’s publication. With changes in outfits – a brilliant contribution from costume designer Emily Stuart – Orlando also moves from man to woman when working as a diplomat in Constantinople. The transformation is ingeniously presented.
This Orlando is also very wry, and Taylor McClaine as the titular character is excellent, sometimes arch, sometimes proud and always watchable. Importantly, and true to the book, Orlando always remains the same person, regardless of what gender they may be, and McClaine is always the same too, whether they are in breeches or in skirts. It’s an impressive stage debut by McClaine.
The story is narrated by a three-strong chorus, and the actors also play minor roles. Tigger Blaize is a stately Queen Elizabeth, Stanton Wright is Orlando’s husband Shelmerdine while Rosalind Lailey plays a range of roles running from servant to suitor. With perfect timing the three actors describe the story of Orlando, and they do well with the large number of props that they collect from backstage or from behind Ceci Calf’s gaily painted proscenium arch, which itself suggests that gender, like theatre, is performance.
As Sasha, Skye Hallam feels underused as she only plays one character, and is really only present in the first half. For the second half, Hallam must wait backstage for the curtain call. Why can’t Hallam join the chorus and play other minor roles is unclear, but her portrayal of the Russian princess is fun, especially when she and Orlando are ice-skating on the Thames.
Only when the story reaches the 20th Century does the pace begin to flag, and the tone becomes a little melancholy, a finale the film side-stepped by extending the story up to 1992. Swinton’s Orlando was a mother and fully independent. McClaine’s Orlando seems still trapped in gender expectations,
With trans politics so important now, it’s heartening to see Orlando – possibly the first trans text – on stage. The Met Gala of 2020 was cancelled because of Covid, but its theme About Time was influenced by Potter’s film, particularly the scene where Swinton runs through a hedge maze eventually appearing on the other side in a new century’s outfit. Who would have thought that Orlando would become more important than Mrs Dalloway?
Runs until 28 May 2022
